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FROM UGLINESS

TO BEAUTY

It is not now the moment to discuss at length structure and decoration; for upon these subjects I have several times expressed myself, as in an article entitled The Simple Structural Style in Cabinetfor December, 1903, Making, published in the House Beautiful and in A Plea for a Democratic Art, printed in the Craftsman I have but to state simply, without for October of the current year. emphasis or rhetoric, certain facts, the knowledge of which I have acquired in my business and technical career; then, as a more convincing proof of my statements than can be formulated in words, to present a short series of coupled schemes, begging the friendly reader to free himself from old prejudices and to seek beauty in simplicity. In treating of the appointments and decoration of the home, whether its place be a spacious house, or a small apartment, I would first inveigh against so-called fashion: the word itself should be banished from the dictionary, and the idea which it represents should be forgotten. Such objects as are structurally good and fitting to the place for which they are intended, should alone be admitted to the daily companionship of thinking people. From such intimacy should be excluded every piece which does not, figuratively, earn its living: that is, render a real and constant service to the occupants of the home. A thing to buy should be a thing to have and to hold, to love and to cherish. This value our forefathers of the Colonial and early Federal periods understood, and this we ignore. Their lives being subject to less change than ours, they had consequently greater affection for their They did not acquire an object one day to grow weary surroundings. Theirs was not, in any sense, an age of fickleness of it on the morrow. and divorce. Then, the makers of household belongings, in common with the members of all other crafts, callings and professions, labored strenuously to produce good work, which remains good and stable to this day, whether it appears in the Constitution of the United States, or yet in a chest, or chair, once adorning, with its quiet dignity, the keeping room of a New England farmer. As in the moral world evil is self-destructive, so it is with the visible products of mans activity. Things which are not true artistically can not have a long existence, and fashion is at once their tyrant and their She is fickle, but they have no quality of permanence. slave. Over the good,in the useful,as well as in the fine arts,fashion has no control;
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In the arruling but the imperfect, the unworthy, the temporary. rangement of a home, Nature, culture and common sense should supply the guiding principles, and the passing desire of the hour should be disregarded, as it will always lead astray. The several parts to be Nature assumed by the three monitors may be assigned as follows: will offer unfailing suggestions as to the color most wholesome and agreeable to the eye; culture will discard vulgarity and display; common sense will decide between the useful and the useless: always rejecting that which, too fine for daily use, will remain an alien element in the home; rigidly examining all ornament as if it were a suitor for entrance to the family circle; questioning every object eligible to admission, lest after acquiring it, the owner should raise his standard of taste and the thing acquired become hateful to him. The question of the material home, its appointments and decoration, has, I am assured, a different and more vital importance than many persons are willing to grant it. Yet I feel that I am not alone, either in acknowledging the significance of the question, or yet in the possession of my views regarding the simplicity in structure and ornament which I advocate. I remember them to have been expressed in substance, in a convincing sermon upon art, delivered in the Church of the Advent, Boston, by the late Bishop Brooks, long before the Arts and Crafts Movement was instituted in America. As the years proceed, I grow more and more earnest in my purpose; making strenuous effort to discover at whose door lie the capital sins committed in our country, under the name of household art, and speculating as to the best remedial measures to be employed against them. It is plain that the existing evils are due to that hateful tyrant, I further believe that two opposite Fashion, already discussed. parties are responsible for them: that is, the public, and the producers of so-called household art-the cabinet makers, upholsterers, and inAs I see imitation spreading through all classes terior decorators. and sub-divisions of American society, I am convinced that envy is I realize the strain exerted by the people as a the vice of republics. whole, under a false conception of society, and the appalling waste of energy, which, being turned in the natural direction, would produce morality, contentment, culture and good art. Indeed, so deep are my convictions, so earnest my desire for a change of ideals, that, as I pass in the streets, the raised curtain of an apartment house, displaying gilt

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and glitter, silk cushions, and imitations of European porcelains, will depress, or anger me for hours. But often when I protest against such extravagance, and advocate simplicity, I am met by the answer that there are no correctional means possible; that the existing conditions produce commercial activity; that they are signs of progress and must be accepted in submission. At such times, I turn from those who make these false efforts to be fine to the producers of the false finery, in order to discover serious fault existing also upon their side. It may, in truth, be urged that they are simply fulfilling the recognized laws of business by supplying the But, I argue, are they not involved in this scheme of public demand. They, as exsocial falsification quite otherwise than as accessories? perts, know that under this system of imitation by which copies of priceless, unique objects are reproduced in different degrees of badness, honesty of material, structure and labor are impossible. So, yielding inevitably to the temptation to employ the cheapest of these commodities which it is possible to obtain, they go farther, since it is By thus substituting the false for the only the first step that counts. genuine, they not only profit in the first instance, but they prepare the Their necessarily cheap materials, wav for future and richer gains. their hasty methods of structure and fabrication doom their products and others are needed to supply their place. to early destruction, True it is that the system of substitution of the false and cheap for the genuine is so extended as to excite no comment from those who are able to discover it. But on account of this fact it is none the less detriIt tends to confirm those who are its ignorant mental in its workings. victims in their lack of judgment and appreciation; it creates a desire for change, and a disrespect for the belongings of the home in those who witness the deterioration of the articles which they have so coveted before their purchase, but which, once acquired, fade and tarnish and fall to ruin before their eyes. Under this system, there can be no advance in culture, except such as comes negatively: that is, by witnessing the evil results of pretense and falsification in objects intended for use and embellishment. But the worst results of the system reside in its moral effects, in its tendency to produce a sense of dissatisfaction, which transfers itself from the objects fulfilling the service of the home to the home itself; causing it to be regarded as a temporary place of convenience, rather than as a fixed point, about which the interests of life revolve. 37

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The fault of the producers-even of the best of them-is gravely increased by their frequency in changing their designs: the large As a result, cabinet-makers making this their custom twice each year. even the newest and most stylish pieces acquired by the private buyer begin, from the moment of their purchase, to lose their value: the very opposite of what occurred in the days of old mahogany, when cabinet-making followed the laws of structure; when style justified its existence, and having done this once for all, remained stable; when the material, acknowledging the care of its keeper, grew more beautiful with age and use. Another fault for which the owner of the home may be taxed with only seeming justice is the diversity of style in the objects of cabinetThe effects which making selected by him to furnish a single room. he strives to gain are missed, and the result is a chaos in which the elements quarrel with that obstinacy which is the peculiar property of inanimate things. But the responsibility for these unhappy results lies rather with the producer than with the purchaser, who must accept, The work of producing is so specialinstead of imposing conditions. ized and divided, that in the case of a dining room, the furnishings in wood must come from as many different sources as there are kinds of articles: the chairs representing one manufacturer, the table another, So produced, it is unavoidable that and so on through the pieces. they are inharmonious when assembled ; offering no more unity than is to be found in the motley throng of the street, each one having, like any individual of that throng, the air of being bent upon its own errand. This state of things prevents our cabinet-making from finding a free market in England, where conditions better than our own prevail, as would naturally be expected in the country which formed the scene for the labors of William Morris, who transformed the look of half the houses of London, and substituted beauty for ugliness all over the kingdom. UT I might continue my argument for page upon page, since points are inexhaustible. I shall, therefore, pass on to present my practical schemes, beginning with two groups, consisting each of two coupled examples,, one of which shows the first state of a room, and the other a rearrangement of the same room which may be effected with comparatively small difficulty and expenditure.
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The first scheme (Sketch A. I.) presents, in its original state of sin, a pell-me11 of misapprehensions of the historic styles; the cabinetmaking represented being drawn from the best examples of their class which were exhibited at St. Louis. It is needless here to dwell upon the grotesqueness occasioned by the confusion and debasement of styles present in this assemblage, which resembles nothing so much as a masked costume ball. In Sketch A. II., the room reappears simplified as to its movables change introduced being one and decoration ; the only structural easily accomplished in the chimney piece. The color-scheme is now built upon soft greens and delicate yellows, with here and there a note of greater prominence enriching the harmony. The walls, in their new state, offer a soft tone of olive-green; thus forming a background imitated from Nature,who clothes the trees and the earth in green, that they may keep silence while human beings think and act. The wall near the top shows a stenciled mo&f, executed in a deeper tone of green combined with corn-yellow. Above this, runs a landscape frieze, which repeats the green of the walls, with corn-color in the water-line, The mantel and, in other details, touches of plum and russet-brown. further emphasizes the green basis of the scheme by its tiling, into which plum effects are also introduced. The former furniture, with its tortured anatomy, is replaced by pieces of simple construction; the seats and cushions being of sheepskin, or canvas, in cool russet-brown, without suggestion of red. The curtains are of basket-weave linen of natural color, with a border line of applique in green and yellow; while the rug sums up the elements of the color-scheme by showing Finally, a russet and light tans, with subdued yellows and greens. few focal points are created by the copper-lamp, with its glass shade of daffodil and green, and the candlesticks and plaque on the chimney piece. The second group of two plates presents, in Sketch B. I., a combination of gilt and glitter which can be imagined, even though it be shadowed forth in black and white. Reconstructed, the scheme appears, as in the first case, with only slight architectural modification: this time due to the change made in the central window of the bay, and the introduction of a seat beneath it. The walls are now covered with a warm-gray paper, carrying a suggestion of old blue. A stenciled frieze of the same, introducing notes of orange and rich green, with
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deep blue in the small lower motif, runs above a rail placed on a line with the window tops. The furniture is of mahogany; the rug shows a gray-green ground with a border repeating the colors of the frieze; while the curtains of the bay are of pale green Shanghai silk, with yellow reflections in the weave, and a woven band of rich old gold at the bottom. Clear greens and yellows appear in the leaded glass, and warm shades of tan in the window seat; the entire bay being intended to contrast in brightness with the remainder of the room, which is purposely left subdued. The ugly chandelier of the first state is replaced by low-hanging copper lanterns, and this metal is repeated in a lamp and a plaque; another decorative detail being added in vases of light yellow and deep blue. Sketch C shows a Colonial scheme, suggesting the calm and quiet, It is which we associate with the idea of the home of that period. almost needless to say that the woodwork is white, and the fireplace lined with ordinary brick; or again, that the pieces of cabinet-making represented are easily obtainable. The colors here employed are blue, gray and white, all of which appear in the wall paper; blue and white being repeated in the rag rug, and again blue in the poplin of the Sleepy Hollow chair covering, and in the port&-es. Other details, such as a mirror framed in gilt, brass andirons, fire-set, lamp and candlestick, not forgetting white muslin curtains embroidered in cross-stitch, are added to give a last touch of local color to the simple and pleasing scheme. The fourth interior, Sketch D, is an example of the new art, avoiding those vagaries which a witty writer has recently characterized as the choice of newly married couples, callow professors, and budding aesthetes. It is a study in spacing, as is shown by the treatment of the woodwork, the structure and decoration of the chimney, and the dispoThe color scheme, based upon the greensition of the movables. brown of the woodwork, runs through the rich russet-yellow of the plastered walls, the russet leather of the settle, the greens (gray to golden), ivory, and pumpkin-yellow of the rug, and, finally, the green of the port&e, with its rich old gold tracery. The decorative scheme concludes in the landscape panels in oils set above the mantel, and the This beautiful tiling of soft Grueby green, showing glints of violet. scheme, simple to the point of crudeness in its basis of structure, becomes satisfying and varied through the agency of color, which itself changes with every mood and caprice of the weather.
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INDIAN BASKETRY : ITS STRUCTURE DECORATION. BY IRENE SARGENT

AND

3 imitate the basketry of the North American Indians has recently been the ambition of public school children, But while both and the passing fancy of club-women. of these classes have thus satisfied the natural desire to create something; while they have closely copied shape, stitches and design, they have too often failed to seize the meaning of the originals, which in many cases are beautiful specimens of one branch of the second oldest art, if husbandry be counted In examining baskets from the hands of these women of as the first. the red race of America, we gain a retrograde vista into the times when Adam delved and Eve span, such as can be afforded by no other extant objects. We gain also, if we wish, the most valuable For ideas and material with which to pursue the study of ornament. it is certain that the primitive basket-maker originated the patterns which, modified by primitive weavers and potters, developed into the motifs which have served the proudest uses in the decorative arts, and are still employed, although in forms so highly evolutionized as to be unrecognizable to the ordinary eye, when they are compared with their originals; just as the elements of Aryan speech are unsuspected in the modern languages of Europe by the ordinary persons who use them as their mother tongues. To study decorative art from the surface: that is, to imitate the designs of authoritative contemporary artists, is not only to remain unenlightened, but it is also to produce poor work; for, in the imitation, the spirit of the original composition will be lost, fitness will, in many cases, cease, and the principles necessary in the first instance, will be useless in the copy. The designer, in order to be the master, rather than the slave of his art, must know the reasons for the historical changes which have occurred in the elements of ornament with which he works; since these changes are, many times, the effort of the design Often, too, to adapt itself to the material upon which it is wrought. they result from the process of simplification, during the course of which many or most of the original features are lost, and some one point rises to prominence, as when the object which suggested the design ceases to be consulted, and reference is made only to some conventionalized form of the original. An excellent illustration of this long process occurs in the herringbone pattern of Oriental rugs,

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INDIAN

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which is the last evolutionary stage of the alligator design: the serrated line standing for the spine of the animal, and the dots contained within the points representing the scales of the hide. The case of historical change, or progression : that is, the effort of the design to adapt itself to material, may be illustrated by the lotus-flower, which, in the Egyptian wall-paintings, appeared in a series of isolated units, copied quite realistically from the plant, as it rose from the Nile. In the first stage, the design was incomplete artistically, since it lacked a continuous base line ; in the second stage, the missing element was bestowed upon it by the Assyrians, who, as a people devoted to the textile art, naturally added a connecting line between the units, in the form of threads, or strands. Frequently, too, they inverted the design; using it as a fringe pattern, when the lotus flowers and buds transformed their calyxes into tassels pendent from cords, which, in the original pattern, were the plant stems. From these fragmentary illustrations it will be clear to the person who has never given thought to the development of design, that the decorative art of a highly civilized people is a very complex matter whose complete solution would be an impossible task. But the subject, of much more general interest than would at first appear, is so closely allied with every branch of race development, that it is worth while to pursue it through its confusing mazes; always provided that the study be begun with the art of primitive peoples, since the less the complication, the greater facility for a comprehensive survey. It may be said in passing also that much respect should be paid to the idea of independent discovery and development on the part of the peoples studied, and that resemblances in design should more often be attributed to necessities of material and structure, to notions of symmetry inherent in the human being irrespective of race, rather than to more or less direct or remote imitation, unless the transmission of ideas can be easily established, as, for instance, in the case of the Egyptians, Assyrians and Greeks, who form, as to their artistic development, one unbroken series. Independence must necessarily characterize all primitive expressions of the arts of design, since ornament is the first spiritual need of the barbarous man, who, comparatively isolated, and therefore more impulsive and sincere, follows his own ideas for the pure pleasure that he derives from realizing them. In this case, theory is sustained by fact, as it has been proven by thor322

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INDIAN

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ough research that the more backward the people, the less they borrow artistic motifs. Originality and independence are, then, two claims which can be made for barbarous art, and to these a third-that of appropriateness-can be added, as one which is generally sustained. This quality is also a natural result, since the design, at its first appearance, is fitted to the material upon which it is wrought: the pottery design spontaneously tending toward curved forms, and the textile design assuming the angles necessitated by its application to threads Again, from another point of view, it is essential for both or strands. the technician and the critic to begin their studies with the art of primitive peoples, since the one may learn in this way to choose and modify his designs with taste and fitness; while before the latter there will open far-reaching vistas of the most essential historical knowledge. A design can, in all respects, be compared to a living organism. It has its periods corresponding to youth, maturity, and old age. Created by enthusiasm, it is first symbolic; its meaning is all important. It is incomplete; its promises and possibilities are felt to be its best part. Containing strong elements of grace and beauty, it may lack an element of balance, something which shall unify and complete it. Such was the lotus design (anthemion) among the Egyptians. Closely associated with the Nile, the source of fertility, the water-lily typified life and immortality. Translated into design, it adorned the walls of the great temple, which in itself typified the world. But, in this first stage, as we have before seen, the design was incomplete artistically-that is, externally. It was also, as we have seen, brought to maturity by the Assyrians, to whom it meant nothing, except as, reduced to decorative form, it pleased their aesthetic sense. Passing from the latter people, it entered upon its long course of decadence ; reappearing in modified form, and at distant intervals, throughout the world at points most remote from one another, whither it was carried, through the operation of war and of comIn the case of this special design, evolution can be traced merce. with such ease as to justify in the main the theories advanced by Professor Goodyear in his treatise, The Wanderings of the Lotus. Therefore, what is true of the design recognized as the most important, persistent, and Vital example in the entire history of ornament, is true in a lesser sense of less significant specimens, and the student may
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begin his examination of North American Indian art, strong in the critical methods and in the judgment which he has acquired by tracing the life-histories of designs, from their origin early in the history of ancient peoples, who were destined to attain high civilization. He will find himself free to extend to its farthest limits the theory of independent development, since no counter-argument is possible; and, as proofs, he may adduce frets and keys resembling Greek and Chinese designs, anthropomorphic forms scarcely less ingenious than those found in early Celtic ornament, as well as phyllomorphs (plantforms), and representations of operations and objects in the physical world-like thunder, rain, storm and mountains-which latter would lead to the belief that the red race was not one destined bv Nature to remain barbarous : as, according to scientists, would be indicated by a too great preponderance of animal forms in design. The result of such study can not be other than an awakening of admiration for the primitive designers who, in order to create, do not deliberately examine all departments of Nature and of art, in the search for striking motifs; experimenting and struggling with themselves and their material in the effort to invent, and in this way missing the originality These North which they pursue with such diligence and pains. American Indians, so long despised save by a few specialists, will be proven to be designers obedient to sure artistic principles, working spontaneously, creating for pleasure, rather than for display, as is too often the case with those who follow a similar calling in highly civilized communities. In pursuance of this study of North American Indian design, it might be urged that pottery as a more important expression of the useful arts, should be selected for examination; but while the clay vessels are most interesting, they form the second link in the chain of evolution; since the textile always precedes the fictile art, and because, in the case of these Indians, the pottery at first served but as an adjunct to the basketry. The latter, at present reduced among civilized peoples to an insignificant place among the crafts, occupied early in history a most important position. In Viollet-le-Dues History of the Human Habitation its structural capacity is clearly shown, and in the works of other archeologists it is equally honored as a provider of primitive shelter. Its forms and characteristics were preserved long after its materials
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basketry long filled the place of pottery; being for them the almost universal receptacle, as the vase was among the ancient Greeks, and long serving the uses of primitive cookery, until the boiling pot came to reproduce in clay the boiling basket of vegetable fibre. Then even, the rope of clay, coiled upon itself, imitated the wisp of the basket, which, twined around and around a center, formed the bottom, and rose spirally, widening or contracting, until the desired height and form were attained. The clay vessel, thus evolved from the basket, repeated in detail its original; just as we have seen the stone roundtower retaining the characteristics of the wicker hut, after they had ceased to be structural. The surface of the pot was covered with incised or indented decoration, copied from the designs belonging to basketry; while cone-like projections, near the rim, reproduced the loops of withes, through which formerly the strap was passed to suspend the boiling basket: a survival precisely parallel to the string courses in architecture, since the conical projections of the pot no longer fulfilled the functions exercised by the loops of the basket. And this is but a single instance of the influence exerted by the earlier over the later craft. Examination in all cases justifies the opinion of the critic who asserts that basketry impressed itself on the clay, literally and figuratively, and thenceforward pots were doomed to basket-like ornamentation, until the possibilities of clay worked out the freedom of the pot from the limitations of the basket. From these and innumerable other equally strong indications, it is plain that Indian basketry should be regarded much more seriously and respectfully than it has been our custom to do; that it has a much deeper meaning than has been suspected by the majority of those who have recently counted its stitches and mechanically repeated its symbolic designs, in the effort, made without especial reason, to produce objects of no important value or use. It is certainly time to restore this art-craft, as practised by our red race, to the consideration which it merits. N examining good examples of Indian basketry one cannot fail to observe a point of resemblance existing between them and the products of the highly artistic Japanese, who lavish their utmost skill, taste and wealth upon objects devoted to the commonest service of daily life, while yet the number and kinds of objects created
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The vase-like examples ornament in various stages Of evolution. recall the Assyrian ceramic forms of about the sixth century B. C., as do even more fully their zonal zoomorphic decorations; while the specimen of similar shape appearing in the line-cut shows a textile technique rivaling that of the ancient peoples who fed their flocks on the great plains watered by the Tigris and the Euphrates. But it is only fair to say that these shapes, when compared with the Greek and the Pompeian, suffer greatly; since they lack fine curves and sharp definition of parts, although again much may be said in extenuation of these faults, when the proposed use and the structural material are considered. The frets or purely linear combinations, mosaic-like in character, show their designers to have been space decorators possessed of mathematical sense, of boldness and style, who appreciated the effects obtainable from the proper assemblage and alternation of lights and darks. Two designs are most interesting as studies in the evolution of ornament, valuable from the fact that they are condensed, and illusThey are found in two of the plaque-like trative of a single point. baskets, one of them being composed of an ornate lozenge border enclosing a curious and striking stepped design; the other showing a Both these designs, chain-motif which is distinctive and beautiful. although still vital with symbolism, have reached the second stage of their existence; that is, they have reached their maturity as decorative agents. The lozenge pattern is the American Indian equivalent for the Oriental alligator design, but it is much more realistic, and as a it remains more decorative than its result of being less simplified, parallel. It is a nzotif suggested by the skin of the diamond-back rattlesnake, and in order to complete its symbolism, it must be coupled with the interior design, which represents a mountain ascent, watered by copious streams, and abounding in quail, whose plumage is indicated by the filaments placed at the angles of the pattern. Regarded as symbolism, the work possessed a secret, perhaps a sacred, meaning for its designer, and her tribe; but in the light of pure ornament it affords keen visual pleasure to the gentile world. The same may be said of the chain-motif, which is composed of anthropomorphs similar to those found in Celtic art and which are there of such deep religious significance. And so, if space permitted, this study of Indian ornament might be indefinitely continued, always with pleasure to the student and often with profit to the cause of art.
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THE ARTS AND CRAFTS cf; A DIAGNOSIS DR. DENMAN W. ROSS Y Fmm Handicraft
January,
I903

BY
for

.HAT is the matter with the Arts and Crafts? Why is it that, in spite of a widespread interest, with much talk and much activity, so little really good and satisfactory Consider the work of the early and work is produced? middle ages, of the Renascence, the work of our own colonial days, the work of the far east, of China and Japan. We have many examples in our houses, in our museums,-the masterpieces of earlier times. In comparison with these, the work which we are doing is most unsatisfactory. I am thinking, of course, of the work that is really ours, the work which we do upon the basis of our own thought and effort, the work for which we are wholly responsible. Good things are produced, very good things, but they are reproductions or copies of fine things done long ago. All we do is to adapt them to our purposes, to our needs, with very slight, if any, alterations. The changes we make are rarely improvements, and our copies and reproductions are not so good as they ought to be. Our artists and craftsmen, the ablest of them, have settled down to a systematic imitation of historic examples, and the study of design is called the study of historic ornament. It is only the ignorant, we are told, who imagine that they can produce any original work which will be good. The wise have given up the idea altogether. The work which we do, when we follow our own impulses and disregard precedents, is often useful. It serves its purpose, but it generally fails in design or lacks technical perfection. If, as sometimes happens, our work is good in its general conception or design, it is almost sure to be the work of some amateur or dilettante who has good taste and good judgment but no technical training, no skill. The More often the work is well work is well conceived, but badly done. In that case it is the work of a man executed, but wanting in design. who has technical training, who knows his trade, but has no idea of composition. He has never thought of design, and is, consequently, unable to bring the beauty of order into his work. His work may be useful, but it is not beautiful, so it cannot be regarded as a work of art. We rarely find in original work the combination of good design and good craftsmanship which, together, make art.
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THE

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There is, as I have said, a widespread interest in the Arts and Crafts There has never been so much talk about them at the present time. Societies are being organized everywhere to look after before. them,-to encourage producers on the one hand and buyers on the The people who join the societies are divided into craftsmen other. and patrons, and the craftsmen are divided, according to an estimate of training and ability, into masters and apprentices. No end of time and pains are spent in making constitutions and by-laws,-the a priori legislation which never fits and gives no end of trouble afterwards. Then there are meetings, at which people talk,-the people whose business and pleasure it is to talk. As a rule, they have never done any work themselves, but they can tell us all about it, and what ought to be done. The talkers who have never done any work take a few lessons and begin at once to produce things,-hammered bowls, carved brackets, punctured lanterns. Then there is a jury to look at the things,to decide whether they are fit to be shown or not, and there is an exhibition committee to arrange for the shows. These take place from time to time, and are attended by the patrons and other persons who feel kindly and take an interest,-sometimes to the extent of buying the objects exhibited. A little market is created and a little business is done. So it goes on, and it is hoped, by such means, that the Arts and Crafts may be induced to flourish once more. We expect very soon to have artists, lots of them, and the artistic life everywhere. It is a moment of great expectations and high hopes,-to be followed presently by a disappointment. It Our interest in the Arts and Crafts is altogether too superficial. is more talk than work. The product is small and insignificant, and our little market is no real market. The fact is, we are playing at It is a pastime, an amusement. Arts and Crafts. The big world of Ask hard work and real work is hardly conscious of our existence. the manufacturers, the shopkeepers, and their employees, what they know about the Arts and Crafts movement, how they feel about it. They will tell you that they know little and feel less. Surely it will take more than our meetings and talk, more than our exhibitions and sales, more than all that, a great deal more than that, to bring the Arts and Crafts to life again. The real cause of their decadence, the real reason why they do not flourish, lies deep in our habits of life, and in the system of education
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which gives us those habits. It is to be found in the fact that the knowledge of art, which means aesthetic discrimination and judgment, is found, generally, among the people who do no work, people who study works of art, collect them, and talk about them, but produce nothing. It is to be found in the fact that the people who have technical knowledge, training and skill, who are able to work and do work, have, as a rule, no discrimination, no judgment, no standards, no high In other words, we have all the fine impulses where there is ideals. no ability to follow them, and all the ability where there are no fine impulses. To make matters worse, the people of education, of judgment, and the people who have merely technical training and ability form two distinct classes in our community, and these classes have almost nothing in common, have, indeed, very little to do with each other. There are lots of people who know the fine things that have been done in art, who care for them, who long to see such things done again, people who have good taste, right judgment, high ideals, and the number of these people is increasing constantly. Instead, however, of trying to realize their ideals, working them out in the materials and by the technical methods of the several Arts or Crafts to which they properly belong, they find it easier, because it is more in their habit, to put their ideals into words, and to talk about them. Sometimes they give lectures and write books about art; what it has been and what it ought to be. In this way they express themselves, but always in the Language is the only art which they understand terms of language. technically, the only art which they can practise with any success. Very sharply distinguished from those who discriminate and pass judgment in speech and in writing, are the people who spend their days, all day and every day, in real work,-getting technical knowledge and exercising it. They are masters of their hands, of tools and materials, of methods, ways and means. These people, also, think. Of course they think, but not in the terms of language. They think of forces, attractions, resistances. They discriminate in manual efforts, in tools and in materials. They are good judges in all technical matters connected with the Arts and Crafts. There is nothing these people might not do. They might do the finest things in the world; but They have never studied any fine things. they never think of them. They have no knowledge of art. What they do is simply what they
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are told to do by the people who employ them and pay them wages, and these are not, as a rule, the people of education, who might be They are the manufacturers and expected to superintend and direct. shopkeepers who produce things to supply a demand and gain a profit. Of standards and high ideals the employers know quite as little as the Their only motive is found in an order to be people they employ. The two classes of people thus distinguished and described filled. have, as I have said, very little in common and very little to do with one another. They rarely meet, and when they do meet they fail to understand one another. Words mean so little to those who work, and work means so little to The terms of those whose ideas exist only in the terms of language. language are abstract and general, the terms of work are to the last degree specific. The talkers and the workers meet only to misunderstand one another, and they have very little respect for one another. What is all that talk, says the worker, that talk about the principles Orof design? What does he mean by balance, rhythm, harmony? ganic unity, -what in the world is that? Righteousness, truth, beauty,-what are they? How he talks and talks, and quotes from the books! He is always begging us to do those things which he talks about. He cannot do them himself. He says so. He cannot tell us He does not know how to do them. He knows nothing about work. You ought to hear him the difference between a nail and a wedge. talk. It is perfect nonsense. Let Work is better than talk anyway. us go to work. That is what the worker says. From time to time the talker leaves his proper associates, the people who understand talking and talk themselves, and condescends to visit the worker in his place of business,, but he finds there nothing that pleases him. What he looks Work in itself he cannot understand or appreciate. This he finds unsatisfactory, for is the motive of the work, its idea. It is not enough, he says, to do your work well, even very well, it must also be worth doing. It has no Your work is without design. I see in it balance, no rhythm, no harmony. It lacks organic unity. no righteousness, no truth, no beauty. It makes me very unhappy. That is what the talker says to the worker, and he goes off, consoling himself with the words of the Lord to Ezekiel (xxxiii, 32) : And, lo thou art unto them as a very lovely song, of one that hath a pleasant
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voice and can play well on an instrument: for they hear thy words but they do them not. Idealism, with its love of righteousness, truth and beauty, and technical ability, with its standard of perfection, the two elements which go to make up the artist and the artistic life, are thus widely separated, -so widely separated that they cannot act together, as they The case of should, to produce their proper issue in nature, in life. the Arts and Crafts is, therefore, a case of disjecta membra. Many efforts have been made to bring the two elements of art, its idealism and its technical ability, together, but the efforts have been futile. The idea has been to bring the workers under the influence One of the objects of the Arts and Crafts Societies is of the talkers. that: to bring the people who work under the influence of the higher criticism. The man who works, however, does not care for the higher criticism. He does not understand it, and, like most men, he hates what he does not understand. He despises the condescension of those who pretend to know all about it, but cannot do it. The critic and the worker meet, but in vain. It may seem to What I have said may seem very discouraging. The the reader that I have described a hopeless condition of things. condition of things which I have described is far from satisfactory. It does not follow, however, that it is going to endure. That is true. I regard the situation with hopefulI am by no means discouraged. All the elements of art, of the artistic ness, if not with cheerfulness. life, are here. They are separated so that they cannot act together. That is not impossible. What we have to do is to bring them together. It means simply that we must bring the teaching of art, the teaching of The young men and design, into connection with technical training. women who go into Arts and Crafts work must have the knowledge and appreciation of fine things. They must have standards which will enable them to criticise their own work as they do it. They must Th en we shall have the two elements of be critics as well as workers. the artist life, its fine impulse and its technical ability, united and actWe shall then, at once, see a real life and activity coming together. We shall see work produced, approing into the Arts and Crafts. That is priate to its purpose, good in design, and technically perfect. exactly what we want. Various forms of manual training have come into the schools.
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ARTS

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Manual They are coming, also, into the colleges and universities. training has not, however, as yet, come into connection with the teaching of art. By some people it is regarded as an educational discipline, sufficient in itself. By others it is recommended as a preparatory training for mechanics and engineers. As a discipline, it is certainly of great value; as a preparation for certain kinds of professional work it is indispensable, no doubt. Up to this time, however, the teachers of They have had no manual training have been mechanics, not artists. The study of design interest in art, no knowledge of its masterpieces. and its principles has had no place in connection with manual training. The study of works of art, with the idea of discovering and establishing standards has never been introduced into the schools of manual training; but it is going to be introduced there,-for that is exactly the Technical training, without place, where the study of art belongs. the knowledge of design, without artistic standards and ideals, without On the other hand, the artistic the artistic impulse, is of little value. impulse which would lead us to produce good and beautiful work is fruitless, so long as it is divorced from manual and technical training. The two things belong together, and what we have to do is to bring them together, and that is what we are going to do, and we are going to do it at once. The pessimist says: How dismal it all is, how How fine it will be, what unsatisfactory. We are not pessimists. splendid work we are going to do, as soon as we have the requisite That is what we say, and that is knowledge with technical skill. optimism. We must have the knowledge of design in its principles, which are Order, system, unity of motive or purpose, the principles of order. Beauty is not definbeauty of form: that is the meaning of design. able, but it manifests itself in three principal modes: balance, rhythm and harmony. These are the modes in which beauty is revealed both By balance we mean equal opposition in Nature and in works of art. or antithesis. By rhythm we mean the joint action of two or more attractions or forces to carry the eye and the mind in a motion through the measures of time or of space. By harmony we mean that the constituent elements of a work have something in common which brings them together in unity. We say of a work, that it is in harmony with its idea or purpose, or that the terms are in harmony with one another. Thus we have harmony of tones, of measures, and of forms
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ARTS

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Th e practise of design means bringing terms or ideas into or shapes. the modes of balance, rhythm and harmony. The only means of coming to a clear understanding of design, and an appreciation of its importance, is found in the practise of design,-in exercises in the composition of terms and ideas,-trying to bring the many into one, the one into many, as Plato puts it. At the same time we must study the art of the past, particularly its masterpieces, the aim being to get a power of visual discrimination, critical insight, and right judgment, and, ultimately, high standards and ideals, and the noble impulse which comes out of them. Examples and illustrations must be brought together; if not original works, then copies or reproductions; if nothThe best ing else can be had, photographs will serve the purpose. method of study will be found in a technical analysis, by which the component elements and motives of a composition become clearly distinguished and defined. * * * We shall then have art once more, and the artistic life. The Again, works of art will be produced. conditions and circumstances of modern life will give us new probNow we have only half lems, and we shall have artists to solve them. His head is in one an artist here, the other half somewhere else. The all-around, complete artist, with his place, his hands in another. knowledge of fine things, his discrimination and judgment, his standards and ideals, his knowledge of tools and materials, of ways, means and methods, his power of eye and skill of hand,-that is the man we want, the man we must have, before we can hope to see the Arts and Crafts alive again, and flourishing. We must give up the idea that everything can be understood in the terms of language, that the educated man is one who talks and writes, We must give up the idea that all the wisdom but does no other work. of life is to be found in the words, phrases, and sentences of high philosophy. Language is only one among many arts. It serves many purposes, but not all, and among the purposes which it does not serve are those of the Arts and Crafts,-architecture, sculpture, painting, The feeland the many and various minor arts connected with these. ings, emotions, thoughts, ideas, ideals, which find their expression in drawing, painting, modeling, carving, construction, of one sort or another, cannot be properly defined and expressed, cannot be properly Archaeology, hisdiscussed or understood in the terms of language. The discriminations, which mean right tory,-that is another matter.
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judgment in regard to works of the Arts and Crafts, are discriminations in the sense and in the terms of vision. These have no real equivalents in the terms of language. The appreciation of such work We do not know that a rests always upon technical considerations. thing is bad unless we know how it was done, how it ought to have been done, what ought to be done to make it better. That means technical experience and technical knowledge, if not technical ability. To be a real critic, you must have studied the masterpieces in a way which the man of words cannot understand. You must have analyzed the fine things. You must know exactly what they are made of, and how the materials were put together. To make sure of your knowledge you must have put similar materials together in the same way with approximately the same result, bringing the knowledge and understanding gained by analysis to the test of synthetic effort. To be a real critic you must have all the knowledge of the workman. To be You must be a helpful critic you must know more than he knows. able to explain your idea to him in technical terms, and by means of illustrations, doing yourself what he ought to do. The real critic is It is always through the practice a workman-potentially, at least. of an art that we come to a real knowledge of it. * * * It is plainly the business of our schools, colleges and universities to recognize the existence of many different arts, different modes of thought and expression, to acknowledge that language is only one among these, the most important one perhaps, but not the only one by In order to give our youth a real knowledge of the differany means. ent arts and their masterpieces, our teaching must be practical as well as theoretical. We must put their knowledge upon the basis of technical analysis and synthetic practise. This is not at all the view which prevails in our places of teaching The teacher, the professor, who has never done anyand learning. thing but talk about art, or write about it, is very slow in coming to the idea that he is not doing all that he ought to do. He will tell you that the thought which cannot be formulated in terms of language has no place in the school, or in the university. He protests against all techAll that, he says, belongs to the nical exercises and practises. profession. If you wish to take up art as a profession, you must go to What we do here is to exchange judgments, and we the art school. do that in the terms of language, which are the terms of philosophy.
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The professor cannot understand that the judgments which he offers in the terms of philosophy are no judgments at all. They are certainly not judgments of art. It is the archaeology of art, the history of art, the philosophy of art; it is the abstract, general ideas, suggested by The technical part of art, which is works of art, that he talks about. art itself-that does not interest him. He has no appreciation of design, in a technical sense, and no appreciation of technical perfection, or achievement. It is enough for him, if the work suggests something of righteousness, truth, or beauty. He is satisfied, if the motive is unmistakably good. It is one thing, however, to suggest the ideal. It takes very little art to do that. To achieve the ideal, technically, to bring it forth as a tangible and visible reality is quite another matter. That is what art is, not merely suggesting, but fully realizing the ideal, realizing it to the last point of technical perfection. Of that our professor knows nothing, except as he tries, in his talking and writing, to express himself well in the terms of his own art-the art of language. Assuming that our object, in education, is merely to induce right judgment on the part of those whom we undertake to educate, the importance of technical training as a means of getting that right judgment, must be evident. If we go further than that and say that the true education is a preparation for life and lifes work, technical training becomes a still more important part of it. What we have to do, in that case, is to give to our pupils technical ability of all kinds, and, with it, the finest possible impulses-the impulses which come from a real, thorough knowledge of the best work that has been done in the world and the best thought that has been put into it. Thucydides says of the Greeks (in the funeral oration of Pericles) : that they had the singular power of thinking before acting, and of acting too. That is what we want, as the outcome of our teaching, whether it be in the school, in the college, or in the university. We do not want an impotent idealism, but a potent one. We want all that idealism means: discrimination, right judgment, high standards, but more than that, the ability, the power, to achieve our ideals technically. Then we may expect to realize them-when the philosopher goes to work and the working man becomes a philosopher.

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CRAFTSMAN OF 1904

HOUSE,

NUMBER

XII.,

SERIES

OUSE Number XII., in the Craftsman Series for 1904 offers an especially attractive exterior, together with certain features of construction and detail whose value becomes apparent upon the examination of the plans and perspective drawings. The home is set within a garden of the informal type, which is threaded by gravel paths, both regular and irregular, and contains numerous flower-beds, ample greensward, and a variety of trees and shrubs. Hedges are introduced at points where screens are desirable, and, when pierced by walks, they are provided with rustic gates surmounted by arches dressed with vines. The site selected is a corner lot eighty by one hundred sixty feet, but any city or suburban lot with a frontage of seventy feet or upwards, can be utilized with good results. The house, as may be seen by reference to the plans, is effectively placed, and the service entrance kept apart from the garden, which is reserved strictly as a place of recreation; a small area of turf bounded by hedges, being set off as a drying space. Against this background of differing greens, spotted here and there with the patches of color afforded by the flower-beds, the house is admirably accented; presenting a complex arrangement or reds, browns and blacks found in the bricks, which contrast happily with the varied tones of green occurring in the timber, plaster and shingles. The brick used are the hard-burned clinkers, often discarded by the manufacturer as of little value. To obtain them will probably necessitate a visit to the yard, in order to insure a proper selection of specimens, but this once made, there will be no further difficulty in securing the desired variety of this building material. These brick are used for the exterior walls from grade up to the line of the second story window sills; they are laid with a medium joint in mortar, into which is introduced enough pigment of a dark green color to cause the composition to appear almost black at a short distance. No cut stone is used in construction; the window sills being of brick, as also the lintels, which are either flat or arched, as the case may be. Where arches occur, opportunity is given to introduce patches of contrasting color, by means of the plaster which is here applied to the brick.

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CRAFTSMAN

HOUSE

NUMBER

TWELVE

Above the brick, the walls are covered largely with plaster, with the use of sufficient timbering to prevent monotony of surface, or of color. This plaster is applied so as to present a rough texture, enough green pigment being added to the last coat to remove the gray from the When the plaster has sufficiently dried, a whitewash natural cement. brush, dipped in the same green pigment, somewhat thickened and darkened, is used to produce random splotches of darker tones on This process is not one which requires great skill, the wall surface. and it can be accomplished by an ordinary day workman, under the direction of the houseowner.

CRAETSMAN

HOUSE,

NlJlMBER

XII.,

SERIES OF 3O+

PLAN

OF FIRST

FLOOR AND GARDEN

The timbering is of unplaned cypress, and the rough faces of all exposed wood-work are treated with a heavy brush-coat of very dark The roof shingles, also of cypress, are moss green (Cabots No. 302). The roof from the street stained to a moss green (Cabots No. 303). front shows a surface broken only by the flanking chimneys, which, with their white concrete caps, surmounted by red pots, give points of These chimneys are both outside constructions ; contrasting color. the one at the living room end of the house being made large enough at the base to contain a cozy ingle. At the rear of the house there is a terrace of brick and concrete, to which access is had by a door open349

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CRAFTSMAN

HOUSE

NUMBER

TWELVE

ing directly from the living room. The curb wall affords space for potted shrubs, and steps lead down to the gravel paths of the garden. The front porch is of cement and brick, and is sheltered by a shingled All portions of the exposed roof supported on four sturdy columns. woodwork of the porches, as well as of the window frames, etc., are of cypress, stained to the same green as the timbering of the second story. The service entrance stands at one end of the house and is sheltered by a porch, beneath which is the outside cellar door, having steps of stone and brick leading from grade. While simplicity is intended to be the key note of the whole, and while the house lacks absolutely those features of common use which are produced by the scroll saw and turning lathe, one notes with instant pleasure certain details, such as the arrangement and construction of the window openings in general, the oriel window of the second story sitting room, and the larger window feature on the landing of the principal staircase. The main entrance door, flanked by small casement sashes, is simple in construction ; having one large flush panel, above which there is an opening containing a design in leaded glass; while a further decorative feature is added by the hinges and other fittings of handwrought iron. The trim on the first floor is of chestnut, finished a gray-green by the use of a solution of iron, as described in recent numbers of the Craftsman; the floors being all of oak, fumed to a dark gray. The second story trim is of poplar, with all doors and bases treated by chemical agents, productive of a gray-green similar to that of the first story. The remaining trim, including the sash, is finished in old ivory by the use of enamel ; while the floors throughout are of chestnut finished in dark gray.
THE INTERIOR

The Hall: Here the walls are tinted to a subdued yellow and the ceiling to a dark ivory; the latter being of rough plaster and beamed. These yellowish tones chord admirably with the gray-green of the chestnut finish, and are repeated in the textiles: the windows being hung with a thin corn-colored Japanese silk fabric known as shiki;
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CRAFTSMAN

HOUSE

NUMBER

TWELVE

the rugs showing yellows combined with soft greens and India reds; the seat having yellow pillows which are effective against the green The same colors again appear in the leaded glass panels of cushion. the entrance door and of the door leading to the serving room, which

________ - _____________________ _--__ ____ __-__,T ___..;i____ ______ r ,____

______-_-_____,___

CRAFTSMAN

HOUSE,

NUMBER

XII.,

SERIES OF 1904.

PLAN

OF FIRST FLOOR

echo the delicate corn shade of the curtains, combined with clear, cool tones of green in the leaves of the design. The latter color occurs once more in the jardinikre set on the wide railing of the landing, and containing a shrub of boxwood.
The Living Room:

vas of a soft terra-cotta

The walls of this room are covered with canshade, with the frieze in the same color as the

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CRAFTSMAN

HOUSE

NUMBER

TWELVE

The ceiling, which is of rough plaster, colored to an old ivory effect. interest of the room centers in the ingle nook, made picturesque by the chimney built of hard-burned arch brick, in which beautiful tones of gray mingle with the dull red. A gray sand stone arch spans the fire opening, above which there is a wide shelf of the same substance. The windows, glazed with small panes of varied dimensions, are hung with curtains of corn-colored silk, the same as those of the hall, while the port&e at the door leading to the hall, is of a yellow-brown fabric. The ingle seats have dark blue cushions, and the old-fashioned homeThe furniture is made rag rug shows a design in blue and white. of dark gray fumed oak; the book cases having panels set with mullioned panes of clear glass. The artificial lighting comes from side electric fixtures in wrought iron, which hang from brackets and shed a light agreeably softened by passage through yellow glass A small table, holding a blue and white tea service and a tall shades. silver urn, stands near the chimney, and the shelf above the fire place displays several attractive pieces of old copper.

The decorative scheme of this room is comThe Dining Room: The walls posed of a gamut of color known as parchment browns. may be either tinted, or covered with paper in a medium shade of parchment, or snuff color; while the ceiling is tinted to the lightest The windows, pierced above the sideboard, are parchment yellow. hung with linen curtains of the natural color of flax, and the rug has brown as its predominating color, with spots of dull plum and soft The room is artificially lighted from a central fixture green tracery. having a large domical globe of straw-colored glass, hung about the The furniture is of oak, base with fringe which modifies the light. fumed to a deep rich brown, and the sideboard is fitted to a space designed for it.

The Second Floor Sitting Room : Old rose and blue combine in this room to compose an agreeable harmony with the poplar wood work, which, as has been previously mentioned, is stained gray-green, with the exception of the casings and sash; these being enameled in
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CRAFTSMAN

HOUSE

NUMBER

TWELVE

ivory-white. Th e walls are tinted to an effect of old ivory containing a suggestion of rose, and the windows curtained with a thin material The rag rug shows a green backin a pale shade of the latter color. ground with blue and rose border-lines, and the wicker furniture, as well as the seat, is cushioned with cretonnes figured in the two prevailing colors.

The Bedrooms: adapted to exposure, the schemes.

As the colors used in these rooms must be it is possible only to give general suggestions for

BED

KM

CRAFTSMAN

HOUSE,

NUMBER

XII.,

SERIES OF I90,$.

PLAN

OF SECOND

FLOOR

The front bedroom has the plaster of its walls tinted to a soft green, with Japanese grass cloth upon the floor, and white muslin curtains at the windows. The middle room might well be treated in cream and white, with the former color upon the walls, and the floor covered with a yellow
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CRAFTSMAN

HOUSE

NUMBER

TWELVE

With this scheme the furniture should be of and white rag rug. curly maple, and the bedstead of white enameled iron. The bedroom at the head of the stairs might be given an old-time air by using a figured blue and white paper upon the walls, a rag rug in the same colors, a typical blue and white counterpane for the bed, and pieces of cross-stitch embroidery for the various covers. The third bedroom might be treated in tones of buff and brown, and furnished with fumed oak for a mans occupancy. The attic room, designed for the servants use, has the woodwork roughly stained, and the walls covered with paper in a striped or flower design. It may be said in passing that the remainder of the attic space, which is ample, is devoted to storage purposes. The bath-room is wainscoted with cement to the height of five feet six inches, and above this point the walls are enameled white, while the oak floor is finished to match in color the doors upon the second story.

Here the trim, continued to the pantry, is of CaroThe Kitchen: lina pine,stained to a warm brown ; the walls are painted a golden tan shade, and the floor, like that of the living room and of the dining This room, as may be learned from the plan, is room, is of oak. large and fitted with all conveniences to ensure easy and rapid domestic service. It communicates with the rear entry containing the ice box, and from which stairs lead to the cellar and also to the second floor.

The Craftsman House terminating the series of 1904, will, it is believed, compare favorably with any of its predecessors of the year just passed, although it is not the example involving the highest expenditure ; its approximate cost being placed at $6,000.

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CHIPS

FROM THE
Craftsman, friends, he delights A group although especially

CRAFTSlMAN
humble has among He the He which external A sented spective tice, ment interthose and lacked and amber in in which the The Craftsman, a more practical turned standard brought proved things. of to over

WORKSHOPS
on the contrary, method his the personal an the quotation used by of demonstration. experience. occurrence of the of prehim which, monuwith South, as yet clear faces from great throng spirit these, classes. was for died, Feslimitaof aflife, had

T
shop. their panions,

HE

in life and restricted yet many whom

in means,

to measure

the youth

to see developof such, students in his workthemselves and comgood-

ing about him. of a literary gathered, They studies, in a few

his mind extreme Day intervened He, then with

course

in the local University, days since, among recreations gay, which throughout him day, gown. grew more deeply forever, he is

to him

power

imagination

conditions in Boston between a young square, great together Arts, in the relief of In the the this

discussed their that

Thanksgiving itself of time

careless,

to him as clearly

as if no perappren-

humored from course, his scholars The the

manner, student leaves and

inseparable his college when on the

and the scene. stood already adorned of Trinity lesser the the

in the spacious the Church, of lay Fine bathed

graduation cap and Craftsman

assumes

structures

of the Old

ested as the debaters proceeded, and at last laid down his tools to listen ; when one of them, sage which that spirit, endured Pellico, exclaimed Let A day down without it, after walls which The tion, greatly manner graver from he had outpouring which in who, the than read the rest, work the same The quoted of a pasa classic literature, morning occurs and Italian

Museum square

the Public tone

Library.

It was noon, sunshine,

of the late surging

autumn

brought

into strong sermon Brooks.

one of his classes.

passage

of the throng just teacher, certain nated which noted,

into the streets

of a pure cause of

generous liberty Silvio

concluded Phillips countenances

is the story of the long agony and patriot,

remained past them,

still illumiand

and unity by the scholar

by the reflection had were swept part, faces

of the radiant

in his solitary our

confinement, and we lie and within or those matters

:
us govern passes imagination, and, when hunger us almost without everywhere.

for the most

as the young of the middle

workman

it will be well with in our sharp which constitute student, began beds

But the greater composed whom and the the

portion

of the throng placed had in life, already Puritan own

quickly, physical create having a

of the highly inspiration associations with

pain, what prison, recited upon

of the them their the

all, if the bed be contained a palace,

tival were unimportant. they carried tions fairs, made them. were before and atmosphere; and

It was plain that routine

or a house? the quotait after the the techusing, following

of social

professional

to comment

of a budding to his own

philosopher; satisfaction,

heavy, ineffaceable marks upon It was as if ghost-like burdens traced him, upon wondered but, their at shoulders. the The phenomenon of the stu355

nical terms of the school, and the beaten paths of reasoning.

apprentice

by the light

www.historicalworks.com

NOTES
dents man quotation, explained the experienced powerful contrary, with Craftsmen and disthey perils that from had the place Dinner. expecting time by the alto he the NOTES it to himself: externally On the These bench to fasten upon the wall the quotation from Silvio Pellico, translated for him by his friend the student, a ray of sunlight entered through the narrow window-slit to flood the dark and warmth. workshop with radiance

and women, tinguished, tiue faculty. lowed

did not govern them

their imaginaits sugges-

it to master and

tions of fatigue come. The had an open the den were ragged races imposing Craftsman away square turned

of possible remembered

disappointed a street institution

to follow to provide entered, this instead He untidy;

in which thrown for a Here, to be burof the of

educational its doors apprentice depressed: and not and and of poverty, realized. the

W
sible Arts ual Address Syracuse,

E
month Editor

shall be pleased under

to publish

each

this head notices Exhibitions, Institutes, Schools, The

all duly Artists Manand the

authenticated and Crafts Craftsmans Summer Notes,

of respon-

Newsboys further wealth

Thanksgiving

Exhibitions, Training

of the burden his forebodings saw, which indeed, a mingling recognized no system

like, if sent in time to be an item of news. Craftsman, N. Y. Club of Elmira, Exhibition in October. by Miss for which renown. and Mr. N. Y., gave of Arts It was Anna workers Elmira The aroused George and orB. for has conWhar-

station.

But

nationalities and

The Alpha of a most ganized in Pratt, more tion the good than was Craftsmanship and

no color-line, religion. point the hour. spirit down bly to study, of view. heads and The

excluded

interesting

It was not an agreeable save from But cheerfulness haloes for poor children them too, and

assemwas

the philanthropic about of the a brief the of man

directed

one of the indefatigable of others a local well attention.

the air, making, streets,

as it were,

of these

exhibi-

glorifying apprentice, lasted recent

attended

seized

siderable ton James, on The Basketry. France couragement retary Sargent, THE movement

of the festival, to the

the memory

of THE CRAFTSMAN editorial and delivered and Symbolism his lecture of Indian Poetry

the moment discussion, the vigor ized little forget istence.

for the maturing

staff, was present

day of the students impression. by these of their He realoutcast to ex-

when

it came back to him with possessed conditions

of a first

the power the hard

has an Association of City Georges article,

for the

En-

ones to govern

imagination, their

Gardens. Benoit-L&y, by Miss the issue. to this

Its secwhose Irene of The

is M.

luminous Craftsman day, and, grew happier from than Nohis he had been before, on the chill

translated

HE

is presented CRAFTSMAN in

readers

vember

as he reached

is an excellent

one, and one to

www.historicalworks.com

NOTES
be highly especially populated garden The tion was torial ment bition commended in our larger cities space where are limited. (Mich.) Arts 8 to with
12.

and public

encouraged, densely and park

trained all dates mote success

ability

and

proved or

integrity prevent

for the candipro-

and more

municipal for public of the

positions, office. conditions and and and

of incompetent the thorough administration,

or corrupt Second-To

investigation and of the

and details officials and

disof in

Saginaw annual

Art The

Club

held

cussion civic for

its second

and Crafts by

ExhibiGeorge

methods ordiThird and conand other cirlitthe The J. Bona-

November opened James the

Exhibition

selecting relating provide and

appointing of laws

a lecture Founding Home. good. numbers was a great

American nances -To ferences culation erature cause parte Rogers tary, delphia, interested nicipal

cities,

Wharton of

of THE Ideal much Club

CRAFTSMAN ediand AdornThe exhisuccess and Though but the thirty is large women felt for the

to such

subjects.

staff on The as a whole Art

for such meetings for the preparation addresses City and

of such of Good of

accomplished Saginaw members and much

as may seem likely to advance Government. are Charles President Philadelphia, Burham, All Jr., those work and send

its associate sought students

membership after. and These largely

officers of the League Baltimore, Woodruff, and George Treasurer. Reform should

; Clinton
Secreof Philawho are this its of Mufor

are all earnest of their good. Arts feature Jamess Herald speaker, tences. plicity life. It and work Crafts lecture said : and

the influence to make

is already Exhibition the

has been

decided

a permanent Of Mr. Courier-

in the important know

of the work

of the club. Saginaw

of what

He is a forceful, pleasant a man of progressive ideas. thoughts by his striking sen-

league has accomplished literature. For exhibited Arts ing Club, (13 a week in feet the New which in

He awakens

November rooms of the

there

was paintJohn

His plea was for honesty, simand personality in homes and home To be structural and honest were was of all that

National

York,

the monster by Mr.

by 27 feet) Court

the necessary foundations truly artistic,

La Farge, State

is to be one of several Room of the New Minn.

for the Supreme Capitol,

in St. Paul,

In 1894 was organized the National Municipal League. It has done and is doing excellent work. sented are : First-To bers, harmonize the bine the forces is only by united that good citizens of good laws Its objects as premultiply the nummethods and comrealize that it and organization the adoption of men of

A helpful immediately

book which will be added to the Womans Home Li-

of all who action can secure

brary, edited by Mrs. Margaret E. Sangster for A. S. Barnes & Co., is House and Home, a practical book of home management, Mr. Arthur by Miss Henry M. E. Carter. from 357

and the selection

has returned

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NOTES
his Island Woods, his latest mer. from to cut House guests book. sense The Cabin to find to his House that the latter in the scene of of interthis suma request hotel to the of There Duntons ranged James records Century well poet
THE CRAFTSMAN

fornia, Desert. James thusiasm

and will and

the Into

Indians his new his

of the departure, characteristic which

Painted Mr. enfail and any

book has been a centre to the mountains has received the author

carry

est for visitors the owner a path who While nature

sympathy, his

never upon

to convince importance subject

his audiences of

of the truth

of a large mountain through forests

utterances

chosen is no

by him for presentation. doubt that Mr. able Wattsand will of the aras Mr. form 19th is of the

in the Woods are admirers these literature,

for the benefit of Mr. represent & Co.,

Henrys in a from that

books

reminiscences,

collected

it is learned

by one so eminently Douglas, his biographer, addition lights

the publishers, the demand life eau, dicates preached as Mr.

A. S. Barnes for the gospel by this Henry and

of the simple Thorinappreciacalled,

a very important

to contemporary and art of AmerWatts-Dunton friend Pines,

Lhomespun has been growing

of the leading in the literature Mr. with

a constant

ica and England. known many near Swinburne, years London.

tion of his work.

as the intimate whom During associated workers literary at The

he has lived Wimblelife almost his long with

announces Arts and the present metal wrought these

t0 SO&-

for don,

ties

intending participate

to hold

Crafts that ex-

Exhibitions it will amples broidered man under made the ture mcnt George editorial James States standard the as

during

season,

he has been closely all the distinguished fields of art, whether including setti, Madox Lowell, Borrow, Tabley. such Brown; Bret The William work

in such by sending work

in the great or pictorial, Rosand

of furniture, textiles certain known

and emto be sent will be of lecAdorngiven upon by the Mr. United upon of the treating and Caliand

in the Crafts which One

names Morris, Harte,

as Whistler, Burne-Jones, George and

workshops:

articles

William

conditions, to applicants. during requesting Founding Home James, of this known and is the popular He upon Canyon, of the

Tennyson, Black, publisher

Browning, Meredith, Lord De Interbe issued

of these

conditions of THE upon of

is that,

the progress the cooperation

Exhibition

will shortly

CRAFTSMAN, The an staff is widely a book Ideal

an illustrated and be now Magazine. in the writer author works the

by John Lane, national Studio. Another second of Elgar, The none start of Music book the and

of The

\Vharton

of deals

Mr. of with

Lanes Living Sir

is the Masters Edward and had early of

series

lecturer

the composer Dream of the of having

of Ring at

Olaf Elgar his at one

Americana. and of deservedly Grand architecture

of Gerontius. advantages been institutions. educated

Indian

Basketry, scenery

the big musical ful musician

Southwest

advanced

No powerhis career as a fa-

www.historicalworks.com

NOTES
vorite ing ality. pupil. these His Somewhat to develop musical made. counter-balancElgar his own faith did He won had not every come individuhis way to will works original pass upon accepted artistic the works for exhibition detail must submitted. from be or maker In a comof the credited

disadvantages

opportunity to him ready it through ,pieces. meanwhile was His

pany or firm the designer

study of all kinds of mastermusical experience in the was of a practical type. He

with the work done and the company or firm will receive recognition as exhibitors. Miss Farms, ecutive Clara Mich., E. Dyer of Grosse Pointe is the chairman of the of the ES-

organist, leader of an orchestra, and This has conductor of a choral society. resulted perhaps in his diversity of style as manifested tions. The J. Buckley. We had intended ers in this number titled control time. the topics Nature to circumstances But we to present an interesting over which to our readsketch but we had that one enno in will owing in author his different composiis Robert of the work

Committee

Exhibition. to pay
oppo-

We wish our regular particular site p. 281 in regard of a set of Burbanks

subscribers

heed to the announcement to our Christmas Indian Heads.

offrr We

have prepared a special edition of artistic Proofs of these exquisite and artistic red carbon drawings, size IO$$ by 15, reproduced the originals can make are suitable brary, rare made on special for studio, types of so that them. they These paper, or are as near skill and are and embossed like as modern science proofs liare faces, work masfor that a as to

in December, to publish fully

we are unable we are have menu

it at this interesting

assured not

eminently in den, They

intellectual

of live,

framing

to hang bedroom. Catlin, has the orders and

presented,

feel that he has been neglected.

pleasing

aboriginal whose Indian note to be the most

by the modern of any Send them edition that

is now acknowledged The Griffith, Exhibition orations ing The Distinct exhibition Detroit Director, Museum of Art, Designs Merit, 6 to include A. for H. an Hav1904. designs terly theme. the secure is arranging of Art Crafts
20,

in your you must has not

at once

of Original Artistic will

for Decto be held

is limited, to THE

and Examples

be an old or new If your at once. is the of renew now you

subscriber subscription If you

CRAFTSMAN. expired, yet while begun,

in the Museum

December

only

have Send

and art objects by contemporary designers and crafts workers. The distinction between and purposes former feature original art those art and work objects only, eligible for for the exhibition commercial that must in the be the A jury manufactured must that be

time.

NOW,

think

it, and while you may yet secure a set of these exquisite proofs. If you are already a subscriber a Christmas The Womens Syracuse, New Clubs send in a new subscription present York for a friend. State Federation meeting of in 3s

lies in the fact the object

predominating and not merely process.

of the artist

held its annual

the result

of mechanical

N. Y., in the middle

of Novem359

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NOTES
ber. being, istence. federation, thropic sufficient olden was Every organization, should Each purpose reason, unless sure days, pretty have some separate that for like every human object club, in its exthis and In teachnovels, college various of the like unto races, other clubs, and should totoo can can orshow art, litboth they We from a the or philanforming and Yale ings of thought were that each started of small from the savwe

ministers

means,

this federation

had a very reSchool. subject, wanted They and they even workhad and Most any of the arguments It was in inthis

has some educational its being.

is a reason, pursued with whether The

spectable beginning The women who some good object treated pathos. ers told undertaken noble were was stirred of these body world. against world expedient. this topic Many with

for a Trades spoke on this They

spoke from their very souls. with tasks smaller

women to end

for the Federation. power, which Many well the of the philanthropic beginnings,

ing, their education, But the women beyond literary woman that Greek. whose their

like the lighter

marriage.

of to-day, school days.

of similar

bred or not, have aspirations

for something

the results. were were

a listener worthy

clubs help to give the education a continuous most object superb There of are existence, human many

in soul by these words. speeches What in the Parliaments

of men

is not self-culture,

but some

the Trades Every

School? enterprise

means to help the helpless,-charitable philanthropic organizations. Why clubs gether? precious see many ganization. us what erature, Programs, might stronger weaker of work, ent of such Time to be benefits varied and natures money are

combine

is inexpedient so long as it is simply The money was insufficient. on paper. Any sum of money, however large, is insufficient meet its Jesse for any faith, power. hillside what money, philanthropic rather than farm, a few thousand School that task-to money, not made as the awful motive T. want of the world,-unFaith, merely SyraAdd of women would of with no to work.

wasted,

unless cause.

help onward

some human Different

to be derived clubs and a burden

less it have

might

they have done in music, philanthropy so often clubs ones. seemed might be prepared

Pecks much

handicraft. to a club, The to the

cuse University to this faith, might girls brains one cers They

it is, to-day. grains

by a committee. set examples

and these forty-five start a Trades anew into them often.

But helpfulness, sadly lacking,

in any line in the preshave The years, They of was Syra-

make over

the lives of thousands womanhood helpless ; because the bound This way together; same

growing is showing were changed

federation.

been started Trades a subject have raised more offered


up.

Some good causes and as suddenly dropped. has been, talk $4,000, for some and work. of some project that value

idle and hands loosely

School

offiargu-

for both nearly

had promises at this

money, them

a plant the entire

ment might be used against our state and national governments. These legislatures the weaker are strong not successively make follow. the same; records that but the men

in Amsterdam we remembered

cuse meeting, When

was given Harvard

instinctively

It might be

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NOTES
said that many the of these that they But, to others to given the clubs the are purely wholly work mefor organization the any clubs Very reports motions inaudible wrangle, in Federaform of as On Society audience John Buffalo, bau his He must vised gave art the 18th of Nevember introduced of the Derome spoke on the Art. Trades School as Federation of any federated work, with and my

literary, chanical was

Trades the clubs not

School

not a member tongue worthy five New

club, voted

; further

in my soul and longed for the Trades women

to speak

to help

to better to help surely, would

School as a purpose of these fortycompose of Clubs. J. K. C. the Buffalo to a select Gallery, subject Mr. Mr. of Graof bookbooks, He freely were adthat inBindery, the who

themselves,

the time and talents York State Federation

tion in one of the thousand of the world. helpfulness educational present form time was the ships.

philanthropies be quite

thousand

separate dull

as its much that were to as to the of Artists F. Grabau who

of helplessness. to long, Homer-when Motions upon

put to shame repeated, quite tener. Many the audience. men-it great dividual of this missionary difficulty women we ever was world kind; with willing learn clubs

he catalogues of the lis-

at the new Albright

to the weariness reports were The election so like

Bookbinding from to know

as a Fine complete the most fully how

a very

explanation viewpoint. that their

in times past, made the clubs ridiculous themselves Most without do our Indeed, these is to as officers. sole value of politics. get along

Craftsman thoroughly appreciate they are made. might

showed

of the introuble great the get Will of an at a of an speech In

lovers,

so, likewise,
organizations. most that of the to serve

the frequenting ideas. Among by the Miss lamented

of the Bindery

workman terchange of the

and book-lover

many choice bindSociety, Evelyn those Nordhoff,

ings displayed

office is in being wanted in wanting ministers African about it? meeting Zion fraternal Once church when feeling,

for that office, not I was a guest the pastor a little ending with,

one of the few pupils

of Cobden-Sander-

made

son; also a set of first edition of Boswells Johnson, and some fine examples of Mr. Grabaus own work, including autographed the poet, Saginaw, $200,000 editions and other from Joaquin Miller, literary celebrities.

the words of Scripture united we stand, divided we fall. A cousin sitting next to me whispered, appendix to School seems, but as it was Federation as it would That man his Bible. in some senses, the one vital might honor, must The topic have an Trades

Mich., Manual

is just Training

completing a High School.

an appendix at the that for

One of our editors and is enthusiastic tural with architecture which its

saw it the other day over its simple strucand the thoroughness arrangements gave $rso,for its
361

meeting;

as it is a work a topic

the newspapers

not ridicule; words, in the

internal A citizen and

give these women

seem to be planned. ooo for it on condition another $50,000

talk that would not be idle words, I, hitherto uninterested words,

that the city raised provided

www.historicalworks.com

BOOK REVIEWS
equipment is being High Superintendent School. and done continuance. under Later the Warriner, account The management to give work of a The itself Ina dard, Pacific a place Mark Starr coast is speedily in literature. Charles Joaquin John Sterling, Margaret and now forward the thoughts as they writbook, while. Indian one drawings Twain, Jordan, making Bret Warren Miller, Muir, for StodDaCharles Ambrose Collier names Paul as erty Jr., New and a Living, published York. Price, by Philip P.
$1.20.

G. Hubert, Sons, net.]

by G.

Putnams

of the Saginaw of this school

we hope

full and illustrated and its operation.

Harte,

D. Coolbrith,

BOOK

REVIEWS
of people pay for their money, and that income of peace, than Evidently so, for fifon it in book was Many be sugthe is

vid

I
teen

S it true that thousands too much further sunshine thought G. Hubert, years it is possible

George F. Lummis, Bierce, Mary Austin, Graham, of literary Elder are only world who

a few of many fame, are coming

to make a small in the purchase and Jr., happiness thinks The possible? a book

go much culture, commonly Phillip which received gested others wrote saw ciated to-day, is called simpler than getting the poorhouses

& Company

publishers

are clothing authors Yosemite H. Smith,

of California deserve. In ten by Bertha by Florence but one that It is a good legends so noteworthy and transcribe who legends will

as worthily Legends, with is a lesser worth the

ago he wrote

he gave his theories. in a variety that would him of ways. have to if his advice

Lundborg, thing

was eminently to gather

was followed still

enlarged, others

of any locality as the them

and especially majestic lose them.

deemed letters the sanity so now for. life, and

insane,

Yosemite, generations These by pic& in,

of condolence

to his poor

for future

wife and children, what

while but few, at first, of the advice and appreThe world is wiser for a rather edition of the book plea

otherwise and quality

are most

interesting the stories of Miss Legends, Cal.

and are well gain much Lundborgs Paul Elder Size 635x10

it meant. a new

transcribed the poetic tures.

It is a rational and slaving It

[Yosemite

for the joy of living, hoarding. to do.

starving

of money

Co., San Francisco, cloth, $z.oo.] A printed, pretty book, whether

is a practical daintily yet bound frankly attracts amount the well and tastefully

book written

by a man who has done what His wife and chilthe process, years of it,

he advises others

dren seem to be happy under and he himself, after fifteen says it is good enough

the attention to anything author Adelaide to write her home, said it well,

the contents

or not, but when, then it. the

withal,

for the rest of his

has had something Knapp about on loves

to say and has indeed. of not simply location below where

days. Its a thoughtful book, well worthy the consideration of all who are seeking to get away from the unnecessary plexities to a normal rational life. com[Lib-

one has a book Nature, very The Hights,

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BOOK REVIEWS
Joaquin knowledge, good things tempt. book, For mistake Millers and There Upland instance eagles with eyrie is, compels as with flavor all conshould have been looking for them. and A litand be insenthey recand If

Nature

dictionary department erature cluded. fine the tences every word

must must Then, words

also be thorough. knowledge usage If must be carefully scanned

Every

familiarity

does not breed

of human of common given.

is a quaint

to her

Pastures, which I love. am sure it is a great enough to go in

too, it must accurately deit quotes the use of words of recognized of authorities deemed best. and spellings the ones must

always

to know

One may keep snug and when it rains. dry by such knowledge, but one misses a world colt head black of loveliness. in the over stall the to in catch Later: and air The with young soft, open trickle. yonder half-door, the the thrusts an eager

to illustrate

must be from authors Its pronunciations ognize wisely two the suggest or more pictorial differences

ability.

muzzle

stands,

pronunciations authorities representations

are accepted are necesof words, accuracy. will afford coma

mouthed,

delicious

by standard Where

they must be given.

The cattle on the hills seem glad of the wetting, and even the birds have not sought shelter, and why should and tree, bird, I ? The the of Pas& book is sane and healthy. true spirit and tures, Co., flower, woman, of mountain of bee and It breathes of man, Elder
&LOO.]

sary to make clear they must A practical rational pounding conservative It will capital as well letters be made standard of words, reform should also show help

the meaning with artistic dictionary

of shrub

to students

as to the

and will aid towards in obsolete when; where be used. for spellings.

of love and God. by Adelaide Knapp, Cal.

[Upland Paul Price,

and why There will occurs antonyms

San Francisco,

also be a method There are certain essential conditions of to be claim that must be fulfilled any language a standard. A dictionary in actual many local maker tionary words. Dr. famous ere any dictionary that a student

of presenting

as synonyms,

it often

can remember thorough pronunciations of places or

the opposite and critically of proper personages. it is of makes least,

may legitimately

of the word It should careful names And, We

he seeks but not a synonym.

It must be comprehensive. that fails to record the words by a people, words are is not perfect. It is the business answer Johnson, all questions shortly I after am even slang, though or have A dictionnot the of a dicabout his sur-

be most

in giving whether last, that

use

of those meaning, of it. to Samuel

but by no means it should

importance

be up-to-date. of a peopeople. usage of regarded Diction-

ary is the recorder

of a language,

live in a fast age and a decade in the language study all the by the York, conditions of Funk laid and them

a vast difference After many ary, the a

ple so alive as is the American careful dictionaries, published exacting

A woman dictionary

once said to the great appeared,

as authoritative, Co., of New

STANDARD

prised, Doctor, that you should have put unclean words in your dictionary. And I, madam, replied the Doctor, that you

& Wagnalls to us to fulfil down above


363

appears

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BOOK REVIEWS
more than any dictionary the inclusion editors new we exacting applied of this terms, have been These and have rules to or ever of new over new admitnot one them. such rule literainquired down to House on home dresses and Home is a practical The bone who from removed sad and extent, author and book adsinew

seen. Notwithstanding exclusion words meanings found obsolete Great words admit quently ture after. The new edition seventeen and by the

management. to the those far

her book

of our nation, realm, whose We by our in equally lives are,

are comfortably the millionaire from those laborous. influenced is we en-

work,

well off, far removed are hard, to a great

thousand

of old words, in living word

ted into this volume.

are all terms

literature, taken

surroundings, the family utmost of Miss

and as the house the environment is to develop, this to render the perfect

or meaning not those comply words

is among to reject with that the

the shell which should to the ideal. To book, advice taining nance The portant various most others, wishes fortable The book The and make Carter, pany. price, enlivened white

of the home,

care only

has been

as did

do our

are so frepronuncia-

vironment

an aid, attainment

instead

of a hindrance family her sense permaintesuch care im-

used in books or in current their spelling, to be frequently is brought

as to cause

tion, or meaning

this which

end,

Carter good

offers

contains

common and

and directions to the subjects questions the rooms, ditlicult of a house.

upon all subjects

the beginning

of the present course

year,

and as

management treated Home,

one tests it, again and again, of a comprehensive reading, branches, manufactures, its perfection editor-in-chief be congratulated his The
92,ooo

in the course in travel, he Dr. finds Funk, work, many art, out the is to he and achieved. terms, any illusis not DicassistFunk & New than

of miscellaneous

embrace the

including general and

science literature, poetry

as Choosing Engaging

a Home, of its that

Furnishing

Servants,

of all questions of the house to-day, importance the home

confronting and many to one who comas a is

and worth. upon

the mistress

of this colossal editors contains

all of vital to make book of this

the success have

healthful, treatise

257

assistant more words

and attractive. is not kind a dry is so apt little head attractive to be, but

vocabulary dictionary substantially rooms

317,000

and phrases

other trated, torial looked tionary, ants. York.] 364

of the English printed, bound

languagr.

by anecdotes, interesting at the

and pithy studies of each

sayings. in black chapter Elizabeth & Com265;

It is beautifully

elaborately

and in the edi-

of THE friend.

CRAFTSMAX [The and Standard many

the book New $1.00

typographically.

upon as a book, but as a responsive by I. K. Funk Company,

(House

and Home, York: net.)

by Mary A. S. Burns

and reliable

Size, 4*/2 by 7 inches;

pages,

Sold only by subscription. publishers,

Wagnalls

Wall

Papers

and Wall

Covering,

by

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BOOK
Arthur handbook terior The that Seymour decoration. author form role begins by defending decoration, covering Jennings, is a practical

REVIEWS
titled There Wood Metal ing, Work. beginners. clearer people The are Work, Simple Arts Crafts on for Beginners. Thin SheetBookbindand simply wished Bead writfor a Young emphaof is to also

for all who are interested

in inthe use claiming plays an The

chapters

Design,

Working, Pottery,

Pyrography, Basketry book, have

Leather-Work,

of paper this important

as a wall

of wall

It is a simple We statement especially cannot to purpose could of should

in popularizing

art.

ten and in the main

full of good ideas for design.

reason for the many ignoble papers seen in houses, as the author believes, is due to the fact that the decorator leaves the choice of designs, color, etc., to his client, who may have no knowledge whatever in this matter, giving ence orator. Then how tions The methods the ceiling ,lap, dadoes, described teresting The well amples follows much wall good advice with as to descripEnglish and the of burare to select papers, him gained instead the during of advising his career him, and advantage of the experi-

be taught,-and and adaptability That beauty of works would

the lesson sized,-that structure desiderata in ornament. aid the

be too strongly

simplicity

are the first and chief and secondarily

in all design.

as a dec-

first of all in these things progressive

A bibliography learner

and illustrations designs. used in in tools

of French, hanging, the

haue been an addition to the book. [The Arts Crafts for Beginners, by Frank G. Sanford, Price, The $1.30, Century net.] of houses, Home that like the makthat there are often so to be, is a them Co., New York.

and American

employed and fillings,

decoration in paper, etc.,

side walls

Of the building ing of books, should house hence come ideas be no end. everything to the for

tapestry,

it is quite natural makers desire helps desk builder.

in a very comprehensive manner. illustrations, which very

and inand exas

builders,-generally

are many interesting of all kinds,

executed, of wall

show

good thing.

In three books that have just Craftsmans are many Many inan alof first. teacher a few bad. we must When we the prospective

coverings

well as of the tools, decorating. (Wall by Arthur William

etc., used

in interior Coverings, New York: II by net. ) 7

of them sist upon architect work putting

are good, the main apparently

some poor, principles. regards

Papers and Wall Seymour Jennings, T. Comstock.

In this work

as in all other

Size,
$2.00

artistic

inches ; pages,

161; price,
interest

as that

of most and

importance simplicity the

ways wish The awakening At in integral and they have eduan The

he might structure

see the importance

architect matters.

is essentially Hence

cation-that growing. arts Frank crafts

of heart, department,

hand

head-is

in these

if he put secon-

Chautauqua

and its director, a book en-

daries in the place of essentials his teachWe do not say this is the ing is harmful.
case in the three books under considera365

G. Sanford,

has written

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MEMORABLE
tion. over But value of there the Mr. is a tendency importance Dewsnaps and houses at times of the designs his floor from

IN THE
to a former seeks

MAGAZINES
Unitarian of life. III, pastor his Here Voluntary Viz., The named for Pressey, the II, imIn-

seconare plans Pro$2,000

to inculcate

ideas

dary things. Some models spective to


$12,000

provement dividualism. IV, VI, VIII, to study cottage them Cottage instructive styles treat before in Maurice Architecarchitects and enof

is his declaraCotiperation. Method Life. a IX, A a Handicraft. Simple Labor. Upon

tion of principles: Sentiment. Altruism.

I, Democracy. V, A Changed

of excellence, out with of would who desire builders book.

are worked

care and skill.

of Production

of Wares, VII,

do well

to send for his

larger

A Minimum Dependence Dependence X, and XI, and

of Wage-Earning; Trade; of Meniai Mental, carried

Those

Maximum Minimum Maximum a Living. Service Class. Manual

of Independent

have a rare B. Adamss ture. should

IModern useful,

Upon

the Soil for

Especially it prove

to American

Distribution

Emancipation Proportion Religious people, many THE effort the statement,

of the Menial Between Education.

tertaining, resentative Here end are pretentious

for it gives the best cottages architects humble entrance Mr. of Great and

their kind erected

by some of the most repBritain. cottages, week has prefaced by a carefully for the paper, Suburban both writDewsnap, York. oblong, and
$2.00,

A good ly help troubles every will

and

if well

three-roomed lodges Adams

out by congenial remove of life. honest watch

it will undoubtedof the unnecessary hails and new direction of the CRAFTSMAN

cottages.

the fifty pictures digested Country 12l/~x9, Houses, ten and Architect, and $1.00. 13x10, published

and plans Suburbs, Country paper,

in this interest.

series of notes.

Houses

development

Clairvaux

idea with

by William St., New

The worthy zine University November useful Walter Hand subject lovers. hand

Printing exponent bearing this Press, number Gilliss Made Here made

Art than title

never

had

a more magaby the The most about Edges, as of book

150 Nassau

the monthly published Mass. several

[Modern Cottage Architecture, by Maurice B. Adams, Fellow of the Royal Institute New of British 12l/zx9, Architects, cloth, John $4.50.1 Lane, York,

Cambridge, contains

articles

to others tells Papers

as well as printers. entertainingly

and Deckle interest

MEMORABLE MAGAZINES

IN
smaller is published movement,

THE
personal Time monthlv of in which

of peculiar paper

to good

is the way the beginning is described.

It is fact of the that floathand

0
the 366

and poetry NE and of the Tide, Mass. The vat rags, ing periodicals Country,

combined vat-man

:
stands in front (linen or cotton

containing macerated in the

the pulp appear in the

and beaten

so finely vat), one

at Montague, New

It is the organ

the fibres scarcely water

as particles

Clairvaux

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MEMORABLE
holding after dips ently, way done mould, will, upon the into each pulp the end vat but and But the water translucent is lifted away) of at and the an mould, well angle holds brings

IN THE
which, he of about

MAGAZINES
The book can be resumed are over.

sions, let it go. when

has been

stirred, up,

the excursions

sixty-five

degrees,

apparit level this has the which (after The Contemporary Review for November contains as Maeterlinck Drama, and Poor. cellent fully more than The The These many good things, such as Reformer of the Last three Emperor of the items of Brazil, Respectable out of an exappeal to more

nothing and its that. work;

water, gives hold! fibres drains

for a moment,

it a shake the shake have through

become or screen

matted

; the

Religion

and, resting in a moment, the felt,

on the mould substance, be in condition

is a silvery, the deckle a sheet hate, remote There color tasteful

bill of contents to the last article. practical many and

especially

us, but space permits and real, pathetic

us only to refer

to be laid down in embryo, day may of love or to some some word

It is interesting and contains lessons psychologic

and so become, a message

and human,

of paper,-which to bear the printed of the earth. and

be destined corner

or carry

professor. don poor after dark

a pretentious paper by college Its author is a nurse in a Londistrict and who has worked in the walk though forms. rarely are where shows often middle told in these it may She attend received alone how sometimes dared She

are also some fine two- and threereproductions sample a number of pages of fine books.

of the night,

in alleys

I was

that no policeman broad daylight. people not be exhibited says : Many church, not but because of they

Professor versity things is worth think to think.

Davis,

Librarian says

of the Unisome excellent for November, Every word and than savors to read advice

have a real religion in outward the poor they

of Michigan,

in Public Libraries, Use of Books. We It is easier Millers reading. Joaquin

on An Over

because

irreligious,

read too much

have Iong since

too little.

and absorbed the truths by which they live. Elsewhere she asks: Is it difficult to believe church gether, but that not there are those or remain they are who attend away persons life altoof is irregularly, because their

somewhat of the rude mining camp, but it means much to this generation: To hell with books. If you want one, write it. Here are some of Mr. Daviss wise words: Reading alone does not make a scholar, * * * but only a book-learned man,and after allel carry not always to bring the own mind this. results thoughts thoughts. Reliance that of follow your If on inonly Parauthor as you excurspiration with your

evil courses because so strong pendent together? thoughts of the well know for poor

or dead to things inward that

of the spirit, they are indeof yourselves such the it would teachers new be to attitude

religious

and so simple There are

of any assembling in connection to religion professed with that

many

mental

toil is a vain reliance.

religious

read your

is led off to make

and understand.

www.historicalworks.com

MEMORABLE
It is always a mind is found streaks or about pen lished. For ber sons Life. of-doors! squeezes finger ity to aroma as does day. rilege though here fessor good good and (in following To for that to a delightful was thought contain To more this surprise pockets reviewer

IN THE
when or who bj

MAGAZINES
Emerson All his appears also wind and all theirs are

to be exhausted

Here is a gem that showed knew the Indian thoroughly: knowledge for talking In harps, filling is for use, and it only white all poets, hours, postponed men have the trees music; purposes. the air with in use, whilst October

of gold. Emerson

has read all he could ever find written it is a delight upon

to hap-

something hitherto unpubAnd this is his pleasure now. Monthly poem for Novemtime on EmerCountry and for the first prose

men become ure of rhymes In happy be wisely

and walk I think for

to the measall things may and gifts might he we fragdefor

in the Atlantic is published esquisite

they make or remember. walking, rare which

Oh how it makes one long for outIt takes hold of ones heart it so that every the the blood It flows out to an

yet, it is a fine art, and much experience. iVith himself, established must lightful mentary one more have come from

requiring

quotation,

tips and gives a fresh vim and activmovement. sunshine from it must are The taking vast and I know, and and words singer, profanes there, : exhales and as of sweetest quote flowers vivifies winterji a sacchains as the of a pro-

the pen of the Craftsman the thought to enunciate, and most of the we have When most read

so one is it with this magazine review nature of one articles He says: structures, that

on a cold it is almost diamond be read

close this inadequate

as a whole,

there

verbal

a long time. the natural teeth phant, tecture is solid ans\vers duction

I look at of an elean archiperfectly to spare. is de-

such,

for instance,

as at a tree, or the I am seeing that which

qualifications a walk) curiosity, nothing

of a shark, I know and

or the anatomy

are endurance, good speech, If love he has good But forest, as a of the recomold

plain clothes, humor, silence,

old shoes, an eye for nature, too much. that patient silence. the

carpentry

has no sham,

and conscientious, of human

its end, and has nothing

a man tells me that he has an intense of Nature, none. of trees sense, when a loud talker dog. A secrets mend against
368

But in all works hood. true, structural, true art! Another reader and number Work Pier. how The of read

art there

of course, have their add than

Good

observers animals, if they are better the

the manners tis only or a vain

to be made for blunder and falseWhat a strong statement of the honest that basis of all living, we from wish would this Monthly, Stanwood needful to every find same is

words,

article
TIIE

or a story-teller, river and

CR.4FTSMAN

in its entirety of and The Play Atlantic

an d is nothing walk

like so good company woods who is one I

by Arthur said. to We

in the

It is full of good things, to play, how amuse

for dodging it to people their will.

old age.

be said, and well fact that

need to learn ourselves.

are growing

the theater

has such a hold

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